Black is a difficult film to discuss because there are several contradictions in what it presents. On the plus side this is the first film I’ve seen which presents second generation immigrant communities in Belgium – and in particular Maghrebi and West/Central African teenagers. Also a plus, the film is lively with good technical credits and strong performances mainly from non-professionals. But on the down side the film has at least one scene of sexual violence which seemed to me to be exploitative and degrading – and not necessary to show in this way. As a consequence, the film received a ’16’ certificate in Belgium and an ’18’ in the UK (though it may be that the language – in translation – was enough to make it an 18 for BBFC). This effectively excludes much of the target audience. The film is based on two popular ‘young adult’ novels in Flemish (Black/Back by Dirk Bracke) and the official film website includes an Education Pack (in French and Flemish). I wouldn’t want to use the film with 17 year-old students because of the rape scene. My second major concern is that the two groups of young people in opposing street gangs are represented quite differently.
The ‘1080s’ (named for the postcode of Molenbeek, the Brussels district at the centre of recent fears about terrorism) are petty criminals, snatching bags from cars and pedestrians. They are mainly Moroccan youths. The ‘Black Bronx’ are heavily typed as drug dealers and misogynists with few redeeming features. They are mainly Congolese and are also involved in a turf war with another similar gang, The Black Panthers. It seems an odd approach for Adil El Arbi and Bilall Fallah, the two Maghrebi filmmakers, the only North Africans in their art school. They seem to be arguing that both gangs are ferocious in defence of their identity because there is no future for them in ‘white Belgium’, but they load the most negative traits onto the Congolese.
My frustration with the film’s UK release is that it was heavily promoted via a feature article in the Guardian as an update/commentary on the two French films La haine (1995) and Girlhood (2014) and a full-page ad in the Guardian G2. But the film opened in only four arthouse cinemas alongside a VOD release. There seemed to be a confusion over what kind of film it might be. The filmmakers also quote other films as reference points including City of God (Brazil 2002) and Baz Luhrmann’s Romeo + Juliet (1996) – and their admiration for Martin Scorsese and Spike Lee. They make it clear that they are not interested in arthouse cinema and indeed they are now in Hollywood working on Beverly Hills Cop 4.
15 year-old Mavela is the new kid in ‘The Black Bronx’, arrested for the first time for shoplifting. In the police station she meets 16 year-old Marwan from the ‘1080s’. Despite warnings from other gang members the two meet up later and a relationship ensues. Mavela is gradually sucked into the worst extremes of her gang’s behaviour and it is clear that eventually the couple will be found out and that the two gangs will clash with Marwan and Mavela at the centre.
The bare outline above excludes various sub-plots to avoid too many spoilers. The main narrative is very familiar. It doesn’t have the subtlety of La haine nor the visual audacity and wit of Girlhood (although it has a strong music track and a camera style that shows off Brussels very well). I laughed out loud at one brief sequence of three young women dancing in the sunlight coming through the windows of a high-rise – a seeming ‘borrow’ from La haine without any narrative function. The only other La haine link I could see is Mina, the Maghrebi police officer who knows Marwan just as Samir knows the young men in La haine. Unlike the ’empowering’ young women of Girlhood, the young women in Black are treated (very badly) as sexual objects by the male gang members. (The young men in Girlhood are not angels but they are not as brutal as those depicted in Black.)
The script by the directors and by the more experienced Hans Herbots and Nele Meirhaeghe struggles to find motivations for the characters. This is particularly true of the scenes with Mavela’s mother. There is a complicated set of relationships involving mother and daughter and another gang member, Mavela’s cousin, which seems to be little more than a plot device, though there is also something about the sociology of the community in there as well. At one point we see ‘X’, the leader of the Black Bronx, watching a TV documentary seemingly about the civil wars in the Congo. Was he a child soldier in those wars? Does this explain his brutality?
The local issue that does appear – and which is articulated by the directors – is the sense of divided identities in Belgium. Since the decline of the industries of the Meuse valley in Francophone Wallonia, Flemish Belgium to the north has become the dominant and wealthier half of the country. Brussels is an island between the two language cultures. It is predominantly Francophone, yet located within the Flemish region. In the film, both Marwan and Mavela see Flemish as the ‘wrong’ language. They use it only to curse and the only Flemish-speaking characters are the white cops who the kids see as racist. What is surprising is that much of the funding comes from Flemish funds and the filmmaker’s mentors are also from the Flemish industry. Fallah himself comes from Antwerp and suggests that he experienced racism from as a teenager. Black‘s narrative generates its conflict by pushing at the conflict between the Moroccans and the Congolese – even though as the filmmakers suggest, such conflicts are relatively rare. It’s worth pointing out that in La haine, the three young men are together and opposed to the police and local Nazis. In Girlhood, the focus is entirely on African-Caribbean communities with no mention of Maghrebi youth. These two films are by white directors, wary perhaps of getting involved in inter-racial conflicts. Adil El Arbi and Bilall Fallah have more experience of the relationships between their young characters but I do wonder if they have thought through how the film will be read. They have skilfully worked the conventions of a genre movie as a calling card for Hollywood but that’s perhaps as far as it goes.
None of the films discussed here enter into a discourse about religion as such, nor links to ‘terrorism’ in the current context and that’s probably a good thing, especially in the case of Black. I’m glad I saw the film and I’m pleased that young Maghrebis in Belgium are able to make a genre film with high levels of skill and visual imagination (Black is actually their second film after the ‘thriller’ Image in 2014). Perhaps we’ll now see more – and more nuanced – films based in the Brussels? One aspect of Black that I would like to know more about is the locations. The Moroccan gang is in Molenbeek and this is characterised by familiar high rises. The Brussels district of Matonge is often quoted as the centre for Congolese Belgians but this is an ‘inner city area’ close to the city centre with relatively few Congolese residents. The Black Bronx are often seen arriving in the centre by train – as in La haine – implying their estate is farther out. The area in which Mavela lives has very distinct architecture which I haven’t been able to place. Anyone know where it is?
Here’s the official Black trailer (which seems very dark to me – it looked fine in the cinema). It’s available on VOD from iTunes, Virgin and Sky and in various (mostly London) cinemas over the next few weeks: